Beyond her music, which in these cases always takes a backseat, it is clear that when we talk about Rosalía’s ability to sell her stuff, we are dealing with an artist who is one step ahead of her compatriots. In fact, in a certain sense Rosalía plays in a league of teasers, previews and management of expectations that places her closer to Taylor Swift either bts that together with Van Gogh’s Ear.
What happened. Rosalia paralyzed the center of Madrid last night with a presentation as brief as it was chaotic of their new album ‘Lux’, turned into an unexpected act of performance urban: at 8:45 p.m., Rosalía began a live on TikTok in which he announced that something would happen at 10:00 p.m. in the Plaza de Callao. Thousands of fans turned out within minutes, drawn by the promise of a performance. The artist, who was personally driving a white car through Madrid while it was being recorded live, briefly appeared running along Gran Vía before taking refuge in the Capitol Hotel.
Make yourself Lux. Shortly after, all the screens in Callao and the theaters in the area faded to black to finally show the cover of ‘Lux’: Rosalía dressed in white, with a kind of straitjacket and veil, golden lips and a blue background with the title of the album in the center, and with visual reminiscences (the posture of a certain serenity, the headdress, the title of the album) that clearly recall a nun. The album will be officially released on November 7, it is the artist’s fourth studio after ‘Motomami’ and comes preceded by some visual clues in recent days, such as the artist’s presence in Times Square or the enigmatic presentation a few days ago of a score.
Not Kings, but a queen. The launch of Rosalía’s new album, Lux, began with a great promotional action in Times Squarein New York, on October 19, 2025, where his image and the title of the album occupied the iconic light screens of the place. There the images that we ended up seeing in Callao were shown for the first time in the chaotic (but very studied) presentation yesterday.
About the sheet music. More enigmatic was the publication in your newsletter of some scores apparently titled ‘Berghain’ (which suggested a musical turn towards string arrangements, apparently opposed to the electronic spirit of the Berlin club with the same name as the scores). Thousands of fans began to interpret the score with different instruments and upload their versions to TikTok and X, turning the enigma into a collective experience of musical creation. This phenomenon is reminiscent of the way in which, before the release of ‘Desphá’Rosalía already showed for the first time her ability to play with expectations and not follow the hitherto immovable rules of marketing, all based on leaks and direct and apparently improvised communication with fans.
New narratives. Rosalía is a good example of a new way of promoting albums, which have ceased to be isolated musical works and have become a constant call for attention. Taylor Swift is the ultimate example: months before the launch of her ‘The Life of a Showgirl’ we have had promotion on social networks, a wedding announcement and a successful documentary. Rosalía already is giving interviews in which he talks about a personal turn in recent years that will be reflected, of course, in the new album. The personal and the professional blur, with clues that the album could have religious content, anticipating an intimate and profound transformation. And very profitable.
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